Crafting frames that outlive the moment — commercial, documentary, narrative. Every scene earns its place.
Latest Work
From the Journal
Mangroves, tidal light, and the impossibility of planning a shot when the tide decides everything. What the forest taught me about patience and frame.
Four years, eleven shoots, and one very expensive lesson about what skin tones actually look like in afternoon heat.
Stripping everything back to a single source and what it revealed about the relationship between light and truth.
Backstage
Essays, field notes, and long-form writing on cinematography, light, and the craft of making moving images.
The Sundarbans does not care about your shot list. Tides arrive on their own schedule, tigers appear once and are gone, and the light at 6am on the third week is nothing like the light at 6am on the first. These are the notes I kept — about patience, preparation, and the peculiar relationship between a camera and a place that does not want to be filmed.
What started as a three-week commercial project became something else entirely when we lost our main camera to a freshwater flood on day nine...
The rooftop permit came through at midnight. We had six hours before sunrise and one attempt at the drone pass that the director had been planning for three months. The wind was wrong from the start.
By 3am the wind had dropped enough to fly. By 4:15 we had the shot — but not the one on the call sheet. What we got was something none of us expected and all of us agreed was better...
Shooting on a moving vessel in monsoon season is a masterclass in holding on. Camera, frame, yourself.
Eight hours, one song, no playback monitors. The only reference was his voice and the shape of the room.
Raw video diaries from on set — the setups, the problems, the moments between the moments that explain why the footage looks the way it does.
What the main film couldn't show: a camera submerged in tidal water, a re-shot sequence at midnight, and the decision that changed the edit. The full behind-the-scenes cut.
I've been making images in Bangladesh for over a decade — starting with a borrowed DSLR in Mirpur and ending up, somehow, with an ARRI in the Sundarbans. My work is about light, time, and the specific quality of attention that a well-chosen frame can produce in someone who watches it.
I work with directors who trust their cinematographer, brands who understand the difference between a good ad and a great one, and documentary subjects who deserve to be seen properly.
| Camera A | ARRI Alexa Mini LF |
| Camera B | Sony FX9 |
| Gimbal | DJI Ronin 4D |
| Lenses | Sigma Cine Art Primes (18, 24, 35, 50, 85mm) |
| Aerial | DJI Inspire 3 |
| Key Light | Aputure 600d Pro |
| Fill | Aputure 300d II × 2 |
| Monitoring | SmallHD Cine 7 |
| Audio | Rode NTG5 + Zoom F6 |
| NLE | DaVinci Resolve Studio 19 |
I take on a limited number of projects each quarter — commercial campaigns, documentary work, music videos, and brand films. If your project needs images that earn their place on screen, this is where we start.
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